Xiaoyu “Mo” Jiang Brings her Production Design Magic to Vertical Micro Dramas with Millions of Views
“I had the privilege of working with Xiaoyu ‘Mo’ Jiang on the vertical micro drama series ‘Love in the Fast Lane,’ and without hesitation she is one of the most talented and visionary production designers I’ve collaborated with. She brings a rare combination of aesthetic precision, emotional intelligence, and logistical mastery to every set she touches. Her ability to translate abstract story ideas into immersive, tactile environments on a shoestring budget is nothing short of extraordinary.” — Michael Reich, Director, ‘Love in the Fast Lane’
Production designer Xiaoyu “Mo” Jiang. Is. On a roll.
Xiaoyu is building realistic and imaginative worlds as a Production Designer on short films (Fowl Play, Marla, Best Eyes) that are earning honors as Official Selections at international film festivals; and, she’s also making invaluable contributions in the rapidly evolving world of vertical micro dramas, where she’s worked on 5 different dramas, the most watched of which have been earning millions of views on platforms like ReelShort & GoodShort. These micro dramas include If Loving You is a Sin then I Will Go to Hell (80.1M views on ReelShort), and Never Underestimate Girl Math (21.2M views on ReelShort).
Indeed, Xiaoyu, has been using her visual skills since she was 14, and began earning some income by doing illustration commissions online, and explaining, “I taught myself most of my drawing skills, hoping that one day I could rely on them to support myself and break free from my conservative environment.” Coincidentally, but more recently, as an Illustrator on a short film called Queerbait, she created yet another illustration that sucessfully conveyed the story’s emotional complexity in a single image.
Today, as an increasingly in-demand Production Designer, Xiaoyu excitedly suggests, “A PD helps create an immersive environment. Through close collaboration with the cinematographer and director, we ensure that the visual world of the story feels believable — building a bridge for the audience to emotionally connect with the narrative.”
For example, in the vertical micro drama Love in the Fast Lane, for which Xiaoyu was praised by director Michael Reich, one design challenge involved an exotic dance club scene where the PD crew built a wooden stage on-site and then installed a functional dance pole on set. Xiaoyu recalls, “Combined with magenta and blue lighting, we were able to create a great atmosphere that really brought the space to life. Whether verticals or short and feature films, world-building is at the heart of what a production designer does. It’s not just about making things look good — it’s about creating a visual environment that feels real, lived-in, and emotionally true to the story.”
As a result, the most essential task as a PD is balancing the budget with the emotional integrity of the story. Xiaoyu has also contributed to other verticals, including Love in the Fast Lane, Exchanging Our Hearts, and Reunion of the Genius Baby. As for these verticals and short films, she talks about her strengths and what she has brought to the table on various projects.
— What are your PD strengths?
— I can identify the emotional core of a narrative quickly, which allows me to direct the most important resources toward that aspect. Also, I’m very adaptable on set — if needed, I’ll revise plans on the spot, which helps me keep pace with the fast-moving nature of vertical productions. I also love collaborating with other team members to benefit the overall project.
— Could you give an example of this collaborative mentality?
— Collaboration between the PD and other departments is absolutely essential. Only by fully sharing your plans with the director and cinematographer can you ensure that everything you create actually makes it into the final cut. When working with limited budgets, even a small amount of set dressing can go a long way — as long as you coordinate closely with the DP. By rearranging and reframing elements creatively, you can still build shots that feel rich and cohesive in the edit. For example, in If Loving You Is a Sin, the school dance scene took place in a space that actually only had three usable tables. But our cinematographer Stephen lit the champagne tower with colorful lights, and with thoughtful placement of balloons in the foreground and string lights in the background, we were able to make the entire setting feel vibrant and full. Once again, creative world-building.
— Explain how your problem-solving strength offered a filmmaker a new successful perspective?
— While filming Never Underestimate Girl Math, the original script had Zosha and her adoptive mother meeting near a pedestrian overpass, where Zosha was writing math formulas on the ground when her mother found her — a moment that offered hope and ultimately stopped her from ending her life. However, during the location scout, we realized that shooting by an overpass would come with major limitations — short shooting windows and high costs for road closures. After weighing the options, we decided to move the scene to the edge of a trailer park. But, the ground was mostly dirt, which made it nearly impossible to write on with chalk. With my visual eye, I noticed some abandoned vehicles nearby and suggested that Zosha could write her formulas directly on the metal surface using washable chalk. In the end, it turned out to be a great decision — it added texture and visual depth to the scene, and it worked beautifully on camera.
— How does it differ from short films to verticals, and when does the PD comes onboard?
— For short films, the PD may come on board anywhere from one month to six months before the shoot. In vertical productions, the art team typically locks in their availability around three months in advance, but actual prep work often doesn’t begin until two to three weeks before filming. Once the script is confirmed to be relatively stable, the PD will create a concept ‘look-book’ and the first breakdown for props and set dressing. This often happens before the shooting locations are finalized, so I tend to write detailed breakdowns that cover as many potential issues as possible. Additionally, because cost reduction and efficiency are at the core of the short-form vertical business model, productions can often only afford to pay the key crew during the prep period. As a result, the PD is usually working solo for the art department throughout most of pre-production. But I welcome the challenge and responsibility.
— Can you give another example of world-building?
— With If Loving You is a Sin, you can really feel how seriously director Yinghui Li approached both the story and the protagonist’s emotions. For the opening party scene, we successfully transformed an ordinary house into a completely different environment. In the gang hangout space and the school setting, we added a large number of posters, mini pennants, and other visual elements to enhance the atmosphere of youth and rebellion. That kind of detailed world-building isn’t always common in vertical productions — people often underestimate the weight that art and setting can carry in these stories. But they’re essential for creating a clear and immersive tone. I felt that the art department was genuinely valued during this collaboration, and I’m deeply grateful to director Yinghui and producer Yang Qian for that.
— Given your successful contributions to verticals, what is the future for micro dramas?
— I’m optimistic about the future of vertical storytelling. In the foreseeable future, mobile phones will remain a dominant platform. More importantly, we — the creators in the film industry — haven’t changed. We still carry the same heart, the same desire to speak up for the people and stories we care about. The industry is already shifting. Beyond soap-opera-style narratives, I’ve seen sci-fi stories, adventure, and a growing variety of genres emerge. One day, we will find the grammar, the fluency to tell stories naturally through this new visual medium of the phone screen. All we need is time — and patience.
Check out Xiaoyu “Mo” Jiang on Instagram.
